263:. This definition alone would make it sound as if the sostenuto pedal accomplishes the same thing as the damper, or "sustaining" pedal. The sostenuto pedal was originally called the "tone-sustaining" pedal. That name would be more accurately descriptive of what the pedal accomplishes, i.e., sustainment of a single tone or group of tones. The pedal holds up only dampers that were already raised at the moment that it was depressed. So if a player: (i) holds down a note or chord, and (ii) while so doing depresses this pedal, and then (iii) lifts the fingers from that note or chord while keeping the pedal depressed, then that note or chord is not damped until the foot is lifted—despite subsequently played notes being damped normally on their release. Uses for the sostenuto pedal include playing transcriptions of organ music (where the selective sustaining of notes can substitute for the organ's held notes in its pedals), or in much
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752:
729:
166:, not just the volume, of the piano. Soon after its invention, virtually all makers integrated the una corda as a standard fixture. On Cristofori's pianos, the una corda mechanism was operated by a hand stop, not a pedal. The stop was a knob on the side of the keyboard. When the una corda was activated, the entire action shifted to the right so that the hammers hit one string (una corda) instead of two strings (due corde). Dominic Gill says that when the hammers strike only one string, the piano "...produces a softer, more ethereal tone."
323:, paper or silk was placed over the bass strings to create "...a buzzing noise that listeners of the day felt resembled the sound of the bassoon." The buff stop and cembalo stops seem similar to each other in method of manipulation and sound produced. The buff ("leather") stop used "...a narrow strip of soft leather ... pressed against the strings to give a dry, soft tone of little sustaining power." The cembalo stop pressed leather weights on the strings and modified the sound to make it resemble that of the
31:
312:-type sound. The moderator, or celeste mechanism used a layer of soft cloth or leather between hammers and strings to provide a sweet, muted quality. According to Good, " graduated in thickness across its short dimension. The farther down one pushed the pedal, the farther the rail lowered and the thicker the material through which the hammer struck the strings. With the thicker material, the sound was softer and more muffled. Such a stop was sometimes called a pianissimo stop."
414:" refers to the Turkish military band that used instruments including drums, cymbals, and bells, among other loud, cacophonous instruments. Owing to the desire of composers and players to imitate the sounds of the Turkish military marching bands, piano builders began including pedals on their pianos by which snare and bass drums, bells, cymbals, or the triangle could be played by the touch of a pedal while simultaneously playing the keyboard.
618:. In some instances, the pedal piano was actually a special type of piano with a built-in pedal board and a higher keyboard and bench, like an organ. Other times, an independent pedal board and set of strings could be connected to a regular grand piano. Mozart had a pedalboard made for his piano. His father, Leopold, speaks of this pedalboard in a letter: " stands under the instrument and is about two feet longer and extremely heavy".
599:
518:, all piano builders in England, are credited as being among the first to incorporate the new feature. Americus Backers' 1772 grand, his only surviving instrument, has what are believed to be original pedals, and is most likely the first piano to use pedals rather than knee levers. A square piano built by Adam Beyer of London in 1777 has a damper pedal, as do pianos built by John Broadwood, ca. 1783.
50:
563:
make the instrument any louder than his
Broadwood." This extra string would have provided a bigger contrast when applying keyboard-shifting stops, because this keyboard shift pedal moved the action from four to two strings. Crombie states: "These provide a much wider control over the character of the sound than is possible on Graf's usual instruments."
280:
pedal, like the one on the left, except that the middle pedal slides into a groove to stay engaged. Sometimes, the middle pedal may only operate the bass dampers. The middle pedal may sometimes lower a muffler rail of felt between the hammers and the strings to mute and significantly soften the sound, so that one can practice quietly (also known as a "
637:, while Mendelssohn had a pedal mechanism connected to his grand piano. Dolge describes Mendelssohn's pedal mechanism: "The keyboard for pedaling was placed under the keyboard for manual playing, had 29 notes and was connected with an action placed at the back of the piano where a special soundboard, covered with 29 strings, was built into the case".
702:
in, like the table piano pedals. Eventually during the 19th century, pedals were attached to a frame located centrally underneath the piano, to strengthen and stabilize the mechanism. According to
Parakilas, this framework on the grand piano "often took the symbolic shape and name of a lyre", and it still carries the name "pedal lyre" today.
502:
Gottfried
Silbermann, who was the first German piano builder. Parakilas, however, does not specify whether Silbermann's damper stop was in the form of a hand lever, knee lever, or pedal. However, many successful English piano builders had apprenticed with Silbermann in Germany, and then left for London as a result of the disturbances of the
480:. This piano had knee levers, and Mozart speaks highly of their functionality in a letter: "The machine which you move with the knee is also made better by than by others. I scarcely touch it, when off it goes; and as soon as I take my knee the least bit away, you can't hear the slightest after-sound."
562:
designed an instrument in 1824 especially for
Beethoven with quadruple stringing instead of triple. Graf made only three instruments of this nature. David Crombie describes this instrument: "By adding an extra string, Graf attempted to obtain a tone that was richer and more powerful, though it didn't
439:
The sustaining, or damper stop, was first controlled by the hand, and was included on some of the earliest pianos ever built. Stops operated by hand were inconvenient for the player, who would have to continue playing with one hand while operating the stop with the other. If this was not possible, an
369:
In the early years of piano development, many novelty pedals and stops were experimented with before finally settling on the three that are now used on the modern piano. Some of these pedals were meant to modify levels of volume, color, or timbre, while others were used for special effects, meant to
360:
concert grand piano model F308 includes a fourth pedal to the left of the traditional three pedals. This pedal acts similarly to the "half-blow" pedal on an upright piano, in that it collectively moves the hammers somewhat closer to the strings to reduce the volume without changing the tone quality,
355:
The Dolce
Campana pedal pianoforte c. 1850, built by Boardman and Gray, New York, demonstrated yet another creative way of modifying the piano's sound. A pedal controlled a series of hammers or weights attached to the soundboard that would fall onto an equal number of screws, and created the sound of
91:
The development of the piano's pedals is an evolution that began from the very earliest days of the piano, and continued through the late 19th century. Throughout the years, the piano had as few as one modifying stop, and as many as six or more, before finally arriving at its current configuration of
701:
in 1831, and was nicknamed the "Dog Kennel" piano because of its shape. Under the upright piano where the modern pedals would be located is a semi-circular hollow space where the feet of the player could rest. The una corda and damper pedals are at the left and right of this space, and face straight
574:
in 1873 and remains a feature of BlĂĽthner pianos. The BlĂĽthner aliquot system uses an additional (fourth) string in each note of the upper three octaves. This string is slightly higher than the other three strings so that it is not struck by the hammer. When the hammer strikes the three conventional
421:
states, "The
Janizary pedal, one of the best known of the early pedal devices, added all kinds of rattling noises to the normal piano performance. It could cause a drumstick to strike the underside of the soundboard, ring bells, shake a rattle, and even create the effect of a cymbal crash by hitting
182:
The sound of the una corda on early pianos created a larger difference in color and timbre than it does on the modern piano. On the modern piano, the una corda pedal makes the hammers of the treble section hit two strings instead of three. In the case of the bass strings, the hammer normally strikes
680:
The location of pedals on the piano was another aspect of pedal development that fluctuated greatly during the evolution of the instrument. Piano builders were quite creative with their pedal placement on pianos, which sometimes gave the instruments a comical look, compared to what is usually seen
177:
On the pianos of the late eighteenth to early nineteenth centuries, the pianist could shift from the normal three-string (tre corde) position to one in which either two strings (due corde) or only one (una corda) would be struck, depending on how far the player depressed the pedal. This subtle but
501:
Although there is some controversy among authorities as to which piano builder was actually the first to employ pedals rather than knee levers, one could say that pedals are a characteristic first developed by manufacturers in
England. James Parakilas states that the damper stop was introduced by
279:
It is common to find uprights and even grand pianos that lack a middle pedal. Even if a piano has a middle pedal, one cannot assume it is a true sostenuto, for there are many other functions a middle pedal can have other than that of sostenuto. Often an upright's middle pedal is another half-blow
578:
As a composer and pianist, Beethoven experimented extensively with pedal. His first marking to indicate use of a pedal in a score was in his first two piano concertos, in 1795. Earlier than this, Beethoven had called for the use of the knee lever in a sketch from 1790 to 1792; "with the knee" is
214:
On the modern upright piano, the left pedal is not truly an una corda, because it does not shift the action sideways. The strings run at such an oblique angle to the hammers that if the action moved sideways, the hammer might strike one string of the wrong note. A more accurate term for the left
521:
After their invention, pedals did not immediately become the accepted form for piano stops. German and
Viennese builders continued to use the knee levers for quite some time after the English were using pedals. Pedals and knee levers were even used together on the same instrument on a Nannette
347:
in 1830, two years before
Clementi's death. Clementi added a feature called a harmonic swell. " introduced a kind of reverberation effect to give the instrument a fuller, richer sound. The effect uses the sympathetic vibrations set up in the untuned non-speaking length of the strings. Here the
671:
The piano, and specifically the pedal mechanism and stops underwent much experimentation during the formative years of the instrument, before finally arriving at the current pedal configuration. Banowetz states, "These and a good number of other novelty pedal mechanisms eventually faded from
953:
For a reference describing the lack of sostenuto pedals on
European pianos as of 1982, see Good 1982:22. The websites of Bechstein, Bösendorfer, Petrof, and Fazioli as of 2015 all describe their top-of-the-line instruments as including the sostenuto, and for Grotrian it is an available
251:
company was including it on all of their grands and their high-end uprights. Other American piano builders quickly adopted the sostenuto pedal into their piano design. The adoption by European manufacturers went far more slowly and was essentially completed only in recent times.
162:. It was the first mechanism invented to modify the piano's sound. This function is typically operated by the left pedal on modern pianos. Neither of its common names—soft pedal or una corda pedal—completely describe the pedal's function. The una corda primarily modifies the
689:
grands had two pedals, una corda and damper, which were attached to the legs on the left and right of the keyboard. James Parakilas describes this pedal location as giving the piano a "pigeon-toed look", for they turned in slightly. A table piano built by
123:
is to the right of the other pedals, and is used more often than the other pedals. It raises all the dampers off the strings so that they keep vibrating after the player releases the key. In effect, the damper pedal makes every string on the piano a
183:
either one or two strings per note. The lowest bass notes on the piano are a single thicker string. For these notes, the action shifts the hammer so that it strikes the string on a different, lesser-used part of the hammer nose.
771:, and the keyboard itself may have an assignable jack or multiple jacks. Standard MIDI continuous controller (CC) messages that users can select for pedals include: CC 64 (sustain pedal, the most commonly-used option); CC 65 (
583:
did not specify its use in a score until 1794. In all, there are nearly 800 indications for pedal in authentic sources of Beethoven's compositions, making him by far the first composer to be highly prolific in pedal usage.
335:
on his pianos to raise and lower the lid of the piano to control the overall volume. Instead of raising and lowering the lid, the swell was sometimes operated by opening and closing slots in the sides of the piano case.
538:
owned several different pianos by different makers, all with different pedal configurations. His pianos are fine examples of some experimental and innovative pedal designs of the time. In 1803, the French piano company
190:
On the modern piano, the timbre is subtly different, but many people cannot hear it. In that respect, at least, the modern piano does not give the player the flexibility of changing tone quality that early ones
128:, creating a rich tonal quality. This effect may be behind the saying that the damper pedal is "...the soul of the piano." The damper pedal has the secondary function of allowing the player to connect into a
370:
imitate other instruments. Banowetz speaks of these novelty pedals: "At their worst, these modifications threatened to make the piano into a vulgar musical toy"; professional musicians did not like them.
464:
sometime around 1765. According to David Crombie, "virtually all the fortepianos of the last three decades of the eighteenth century were equipped with a knee lever to raise and lower the dampers ... "
720:
piano company in Sacile, Italy, designed the longest grand piano produced up to now (10 feet 2 inches ). This piano includes four pedals: damper; sostenuto; una corda; and half-blow.
487:, c. 1782–1785. It had two knee levers; the one on the left raised all the dampers, while the one on the right raised only the treble dampers. A moderator stop to produce a softer sound (see
558:— one half was the damper for the treble strings, the other half for the bass strings. In an effort to give Beethoven an instrument loud enough for him to hear when his hearing was failing,
543:
gave him a grand, " the most advanced French grand piano of the time... It had... four pedals, including an una-corda, a damper lift, a lute stop, and a moderator for softening the tone."
694:
in the mid-19th century had pedals on the two front legs of the piano, but unlike those on the Backers and Broadwood, these pedals faced straight in towards each other rather than out.
202:, Beethoven specifies the use of una corda, due corde, and tre corde. He calls for una corda, then "poco a poco due ed allora tutte le corde", gradually two and then all strings, in
343:
was a composer and musician who founded a piano-building company, and was active in the designing of the pianos that his company built. The Clementi piano firm was later renamed
672:
existence as the piano grew to maturity in the latter part of the nineteenth century, finally leaving as survivors of this tortuous evolution only today's basic three pedals".
215:
pedal on an upright piano is the half-blow pedal. When the pedal is activated, the hammers move closer to the strings, so that there is less distance for the hammer to swing.
649:
227:, which was inspired by the French. Using this pedal, a pianist can sustain selected notes, while other notes remain unaffected. The sostenuto was first shown at the
748:
typically have pedals built in. The pedal itself is usually a simple switch, although more sophisticated pedals can detect and transmit a signal for half-pedaling.
315:
The moderator stop was popular on Viennese pianos, and a similar mechanism is still sometimes fitted on upright pianos today in the form of the practice rail (see
614:. Some of the early pedal pianos date back to 1815. The pedal piano developed partially for organists to be able to practice pedal keyboard parts away from the
645:
344:
169:
By the late 18th century, piano builders had begun triple stringing the notes on the piano. This change, affecting the una corda's function, is described by
641:
640:
In addition to using his pedal piano for organ practice, Schumann composed several pieces specifically for the pedal piano. Among these compositions are
328:
698:
566:
This piano included five pedals: a keyboard shift (quad to due corde); bassoon; moderator 1; moderator 2; and dampers. A different four-string system,
744:
typically have a jack for an external pedal. Some instruments have additional jacks, allowing for the connection of three pedals, like a grand piano.
244:
243:
built sostenuto mechanisms in 1860 and 1862, respectively. These innovative efforts did not immediately catch on with other piano builders. In 1874,
84:(or damper pedal). Some pianos omit the sostenuto pedal, or have a middle pedal with a different purpose such as a muting function also known as
622:
716:
Although the piano and its pedal configuration has been in its current form since the late 19th century, there was a development in 1987. The
284:"). True sostenuto is rare on uprights, except for more expensive models such as those from Steinway and Bechstein. They are more common on
1334:
579:
marked for a series of chords. According to Joseph Banowetz, "This is the earliest-known indication for a damper control in a score."
775:); CC 66 (sostenuto pedal); CC 67 (soft pedal); CC 68 (legato pedal); and CC 69 ("hold 2 pedal"). Some such keyboards, such as the
755:
The rear panel for this Yamaha DGX-202 electronic keyboard shows a typical 1/4" input jack for a sustain pedal (third from left).
1050:
764:
228:
1078:
387:
452:
in 1767, had two hand stops in the case, which acted as sustaining stops for the bass strings and the treble strings.
378:
72:
that change the instrument's sound in various ways. Modern pianos usually have three pedals, from left to right, the
199:
198:
took advantage of the ability of his piano to create a wide range of tone color in two of his piano works. In his
1327:
203:
896:
Giraffes, Black Dragons, and Other Pianos: A Technological History From Cristofori to the Modern Concert Grand
17:
1320:
178:
important choice does not exist on modern pianos, but was readily available on the earlier instruments.
732:
An external pedal that is plugged into an electronic keyboard, typically to act as the sustain pedal.
247:
perfected and patented the sostenuto pedal. He began to advertise it publicly in 1876, and soon the
1613:
1074:
711:
1653:
1381:
255:
The term "sostenuto" is perhaps not the best descriptive term for what this pedal actually does.
661:
403:
1549:
1040:
751:
399:
395:
159:
361:
as the una-corda does. The F308 is the first modern concert grand to offer such a feature.
296:
Among other pedals sometimes found on early pianos are the lute stop, moderator or celeste,
1516:
768:
540:
535:
477:
473:
426:, from Sonata K. 331, written in 1778, was sometimes played using these Janissary effects.
8:
1521:
1511:
1401:
1347:
737:
697:
A particularly unusual design is demonstrated in the "Dog Kennel" piano. It was built by
526:
stops for bell and drum, and four pedals for una corda, bassoon, dampers, and moderator.
503:
349:
232:
807:
The Piano: The Complete Illustrated Guide to the World's Most Popular Musical Instrument
1681:
728:
686:
547:
264:
248:
125:
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is bigger than usual to accommodate a second bridge (the 'bridge of reverberation')."
1640:
1623:
1056:
1046:
630:
567:
1526:
1577:
1541:
1366:
1343:
1312:
780:
682:
511:
423:
301:
236:
81:
54:
522:
Streicher grand built in Vienna in 1814. This piano had two knee levers that were
406:
of Poland received the gift of a Turkish military band at some time after 1710." "
1728:
1628:
1608:
1480:
691:
626:
606:
Along with the development of the pedals on the piano came the phenomenon of the
170:
460:
The knee lever to replace the hand stop for the damper control was developed in
30:
1723:
1702:
1686:
1648:
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1717:
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1436:
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1361:
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634:
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grand, presented as a gift to him from the Broadwood company in 1817, had an
440:
assistant would be used to change the stop, just as organists do even today.
285:
281:
240:
106:
43:
1105:
Pianos and Their Makers: A Comprehensive History of Development of the Piano
1658:
1531:
1411:
760:
555:
484:
445:
418:
85:
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was an outgrowth of this. According to Good, this possibly began "...when
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1490:
1416:
741:
607:
593:
559:
332:
324:
1618:
1582:
1446:
1441:
1406:
1386:
1139:
Piano: A Photographic History of the World's Most Celebrated Instrument
880:
The Piano: An Inspirational Guide to the Piano and Its Place in History
776:
772:
615:
148:
141:
73:
35:
1495:
1396:
551:
407:
309:
195:
154:
1426:
1371:
1075:"Table piano with Turkish pedal, J.Pfeiffer, Paris, 1818, inv.3320"
633:
in 1843. Schumann preferred the pedal board to be connected to the
411:
223:
The last pedal added to the modern grand was the middle pedal, the
390:, has five pedals for percussion instruments including tambourine.
1458:
1376:
717:
461:
357:
297:
598:
1485:
1421:
665:
653:
469:
449:
163:
271:. Usually, the sostenuto pedal is played with the right foot.
1463:
657:
580:
394:
During the late 18th century, Europeans developed a love for
69:
65:
621:
Alfred Dolge writes of the pedal mechanisms that his uncle,
422:
several bass strings with a strip of brass foil." Mozart's
53:
An overview of the piano pedals, which are placed under the
305:
759:
More sophisticated and expensive electronic keyboards and
274:
849:
Piano Roles: Three Hundred Years of Life with the Piano
288:
as the effect is straightforward to mimic in software.
132:
texture notes that otherwise could not thus be played.
49:
575:
strings, the aliquot string vibrates sympathetically.
506:
in Saxony. Among those who re-located to England were
705:
417:
Up to six pedals controlled all these sound effects.
1342:
1067:
681:
today. The oldest surviving English grand, built by
514:, and Adam Beyer. Americus Backers, Adam Beyer, and
1188:, 3rd ed., New York: Oxford University Press, 598.
1152:A History of the Pianoforte and Pianoforte Players
851:, New Haven and London: Yale University Press, 48.
523:
1715:
373:
319:, above). Joseph Banowetz states that for the
1328:
1205:
1203:
1162:
1160:
1038:
983:
981:
652:. Other composers who used pedal pianos were
235:, a Marseille company. French piano builders
1262:
1246:
1244:
1242:
995:
993:
940:
938:
936:
767:(MIDI) support for a range of user-selected
483:The only piano Mozart ever owned was one by
472:had an opportunity to play a piano built by
1276:
1274:
1253:
1230:
1032:
1002:
917:
915:
913:
843:
841:
839:
837:
831:, Bloomington: Indiana University Press, 5.
491:, above) was centrally above the keyboard.
27:Foot-operated levers at the base of a piano
1335:
1321:
1292:
1283:
1221:
1200:
1157:
1154:, London: J. M. Dent & Sons, Ltd, 136.
1141:, San Francisco: Miller Freeman Books, 19.
1045:. Cambridge University Press. p. 33.
1025:
1023:
978:
971:
969:
898:, Stanford: Stanford University Press, 22.
823:
821:
819:
817:
815:
801:
799:
797:
795:
1301:
1239:
1124:
1122:
1110:
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933:
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1099:
1097:
1085:
910:
834:
750:
727:
597:
377:
48:
29:
1178:
1131:
1039:David Rowland, ed. (19 November 1998).
1020:
966:
872:
869:, Ithaca: Cornell University Press, 27.
812:
792:
723:
529:
14:
1716:
1212:
1186:The Concise Oxford Dictionary of Music
1169:
1119:
957:
890:
888:
861:
859:
857:
809:, Hal Leonard & Carlton Books, 17.
275:Other common uses for the middle pedal
1316:
1094:
901:
1042:The Cambridge Companion to the Piano
765:Musical Instrument Digital Interface
316:
229:French Industrial Exposition of 1844
95:
77:
39:
1144:
1107:, New York: Dover Publications, 35.
1079:Musical Instrument Museum, Brussels
885:
854:
24:
706:Development in pedal configuration
218:
209:
25:
1740:
488:
364:
34:Piano pedals from left to right:
882:, New York: Billboard Books, 45.
476:, who had been an apprentice of
947:
829:The Pianist's Guide to Pedaling
382:Table piano with Turkish pedal
291:
100:
847:Parakilas, J., et al. (1999).
587:
455:
429:
13:
1:
786:
779:, also include a jack for an
434:
135:
374:Janissary or Janizary pedals
7:
675:
10:
1745:
1184:Kennedy, Michael. (1980).
709:
591:
139:
104:
1695:
1674:
1639:
1601:
1568:
1540:
1504:
1354:
650:Six Fugues on Bach Op. 60
534:Throughout his lifetime,
496:
237:Alexandre François Debain
712:Innovations in the piano
404:King Augustus the Strong
1654:Piano Technicians Guild
1103:Dolge, Alfred. (1911).
625:, constructed for both
356:bells or the harp. The
339:Famous for his pianos,
158:pedal, was invented by
1268:Banowetz 1985:143-144.
865:Gill, D., ed. (1981).
756:
733:
603:
602:An upright pedal piano
468:Sometime around 1777,
391:
193:
180:
58:
46:
878:Williams, J. (2002).
867:The Book of the Piano
827:Banowetz, J. (1985).
805:Siepmann, J. (1996).
754:
736:In the 21st century,
731:
601:
381:
300:, buff, cembalo, and
188:
175:
160:Bartolomeo Cristofori
52:
33:
1675:Amplifiers, speakers
1517:Generalized keyboard
1348:keyboard instruments
1137:Crombie, D. (1995).
738:electronic keyboards
724:Electronic keyboards
646:Four Sketches Op. 58
536:Ludwig van Beethoven
530:Beethoven and pedals
478:Gottfried Silbermann
474:Johann Andreas Stein
384:(J. Pfeiffer, 1818)
233:Boisselot & Fils
200:Piano Concerto No. 4
76:(or una corda), the
1522:Isomorphic keyboard
1512:Enharmonic keyboard
1402:Electronic keyboard
1236:Crombie 1995:37-38.
1008:Crombie 1995:18-19.
400:Turkish music style
345:Collard and Collard
186:Edwin Good states,
1682:Keyboard amplifier
1602:Piano construction
1298:Banowetz 1985:3-4.
1259:Banowetz 1985:144.
987:Banowetz 1985:5-6.
757:
734:
685:in 1772, and many
642:Six Studies Op. 56
604:
570:, was invented by
554:pedal and a split
392:
265:contemporary music
126:sympathetic string
64:are foot-operated
59:
47:
1711:
1710:
1289:Williams 2002:40.
1227:Williams 2002:36.
1209:Williams 2002:21.
1166:Williams 2002:35.
1091:Good 1982:111-112
1052:978-0-521-47986-8
930:Williams 2002:26.
894:Good, E. (1982).
631:Felix Mendelssohn
610:, a piano with a
568:aliquot stringing
329:Johannes Pohlmann
259:in Italian means
96:Individual pedals
68:at the base of a
16:(Redirected from
1736:
1337:
1330:
1323:
1314:
1313:
1308:
1307:Crombie 1995:42.
1305:
1299:
1296:
1290:
1287:
1281:
1278:
1269:
1266:
1260:
1257:
1251:
1250:Crombie 1995:36.
1248:
1237:
1234:
1228:
1225:
1219:
1216:
1210:
1207:
1198:
1197:Good 1982:40-42.
1195:
1189:
1182:
1176:
1173:
1167:
1164:
1155:
1150:Bie, O. (1899).
1148:
1142:
1135:
1129:
1126:
1117:
1116:Crombie 1995:26.
1114:
1108:
1101:
1092:
1089:
1083:
1082:
1071:
1065:
1064:
1036:
1030:
1027:
1018:
1017:Crombie 1995:31.
1015:
1009:
1006:
1000:
997:
988:
985:
976:
973:
964:
961:
955:
951:
945:
944:Banowetz 1985:4.
942:
931:
928:
922:
921:Crombie 1995:94.
919:
908:
905:
899:
892:
883:
876:
870:
863:
852:
845:
832:
825:
810:
803:
781:expression pedal
699:Sebastien Mercer
512:Americus Backers
504:Seven Years' War
424:Rondo alla Turca
385:
308:pedal created a
121:sustaining pedal
82:sustaining pedal
21:
1744:
1743:
1739:
1738:
1737:
1735:
1734:
1733:
1714:
1713:
1712:
1707:
1691:
1670:
1635:
1597:
1564:
1555:Manual keyboard
1536:
1500:
1481:Piano accordion
1350:
1341:
1311:
1306:
1302:
1297:
1293:
1288:
1284:
1280:Dolge 1911:191.
1279:
1272:
1267:
1263:
1258:
1254:
1249:
1240:
1235:
1231:
1226:
1222:
1217:
1213:
1208:
1201:
1196:
1192:
1183:
1179:
1174:
1170:
1165:
1158:
1149:
1145:
1136:
1132:
1127:
1120:
1115:
1111:
1102:
1095:
1090:
1086:
1073:
1072:
1068:
1053:
1037:
1033:
1028:
1021:
1016:
1012:
1007:
1003:
999:Banowetz 1985:6
998:
991:
986:
979:
974:
967:
962:
958:
952:
948:
943:
934:
929:
925:
920:
911:
906:
902:
893:
886:
877:
873:
864:
855:
846:
835:
826:
813:
804:
793:
789:
726:
714:
708:
692:Jean-Henri Pape
678:
627:Robert Schumann
596:
590:
572:Julius BlĂĽthner
532:
499:
458:
437:
432:
398:music, and the
383:
376:
367:
317:Sostenuto pedal
294:
277:
245:Albert Steinway
221:
219:Sostenuto pedal
212:
210:Half-blow pedal
171:Joseph Banowetz
144:
138:
109:
103:
98:
78:sostenuto pedal
40:sostenuto pedal
28:
23:
22:
15:
12:
11:
5:
1742:
1732:
1731:
1726:
1709:
1708:
1706:
1705:
1703:Prepared piano
1699:
1697:
1693:
1692:
1690:
1689:
1687:Leslie speaker
1684:
1678:
1676:
1672:
1671:
1669:
1668:
1667:
1666:
1656:
1651:
1645:
1643:
1637:
1636:
1634:
1633:
1632:
1631:
1626:
1616:
1611:
1605:
1603:
1599:
1598:
1596:
1595:
1593:Pedal keyboard
1590:
1585:
1580:
1574:
1572:
1566:
1565:
1563:
1562:
1557:
1552:
1546:
1544:
1538:
1537:
1535:
1534:
1529:
1527:JankĂł keyboard
1524:
1519:
1514:
1508:
1506:
1502:
1501:
1499:
1498:
1493:
1488:
1483:
1478:
1477:
1476:
1474:Electric piano
1471:
1461:
1456:
1455:
1454:
1449:
1444:
1439:
1429:
1424:
1419:
1414:
1409:
1404:
1399:
1394:
1392:Clavicytherium
1389:
1384:
1379:
1374:
1369:
1364:
1358:
1356:
1352:
1351:
1340:
1339:
1332:
1325:
1317:
1310:
1309:
1300:
1291:
1282:
1270:
1261:
1252:
1238:
1229:
1220:
1211:
1199:
1190:
1177:
1168:
1156:
1143:
1130:
1118:
1109:
1093:
1084:
1066:
1051:
1031:
1029:Gill 1981:248.
1019:
1010:
1001:
989:
977:
975:Good 1982:110.
965:
956:
946:
932:
923:
909:
900:
884:
871:
853:
833:
811:
790:
788:
785:
746:Digital pianos
725:
722:
707:
704:
677:
674:
592:Main article:
589:
586:
531:
528:
516:John Broadwood
508:Johannes Zumpe
498:
495:
457:
454:
442:Johannes Zumpe
436:
433:
431:
428:
375:
372:
366:
365:Novelty pedals
363:
341:Muzio Clementi
293:
290:
286:digital pianos
276:
273:
269:spectral music
220:
217:
211:
208:
204:Sonata Op. 106
140:Main article:
137:
134:
105:Main article:
102:
99:
97:
94:
26:
9:
6:
4:
3:
2:
1741:
1730:
1727:
1725:
1722:
1721:
1719:
1704:
1701:
1700:
1698:
1696:Miscellaneous
1694:
1688:
1685:
1683:
1680:
1679:
1677:
1673:
1665:
1662:
1661:
1660:
1657:
1655:
1652:
1650:
1647:
1646:
1644:
1642:
1638:
1630:
1627:
1625:
1622:
1621:
1620:
1617:
1615:
1612:
1610:
1607:
1606:
1604:
1600:
1594:
1591:
1589:
1586:
1584:
1581:
1579:
1576:
1575:
1573:
1571:
1567:
1561:
1558:
1556:
1553:
1551:
1548:
1547:
1545:
1543:
1539:
1533:
1530:
1528:
1525:
1523:
1520:
1518:
1515:
1513:
1510:
1509:
1507:
1503:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1479:
1475:
1472:
1470:
1469:Digital piano
1467:
1466:
1465:
1462:
1460:
1457:
1453:
1452:Theatre organ
1450:
1448:
1445:
1443:
1440:
1438:
1437:Hammond organ
1435:
1434:
1433:
1430:
1428:
1425:
1423:
1420:
1418:
1415:
1413:
1410:
1408:
1405:
1403:
1400:
1398:
1395:
1393:
1390:
1388:
1385:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1365:
1363:
1362:Bowed clavier
1360:
1359:
1357:
1353:
1349:
1345:
1338:
1333:
1331:
1326:
1324:
1319:
1318:
1315:
1304:
1295:
1286:
1277:
1275:
1265:
1256:
1247:
1245:
1243:
1233:
1224:
1218:Good 1982:79.
1215:
1206:
1204:
1194:
1187:
1181:
1175:Good 1982:62.
1172:
1163:
1161:
1153:
1147:
1140:
1134:
1125:
1123:
1113:
1106:
1100:
1098:
1088:
1080:
1076:
1070:
1062:
1058:
1054:
1048:
1044:
1043:
1035:
1026:
1024:
1014:
1005:
996:
994:
984:
982:
972:
970:
963:Good 1982:74.
960:
950:
941:
939:
937:
927:
918:
916:
914:
907:Good 1982:22.
904:
897:
891:
889:
881:
875:
868:
862:
860:
858:
850:
844:
842:
840:
838:
830:
824:
822:
820:
818:
816:
808:
802:
800:
798:
796:
791:
784:
782:
778:
774:
770:
769:articulations
766:
762:
761:sound modules
753:
749:
747:
743:
739:
730:
721:
719:
713:
703:
700:
695:
693:
688:
684:
673:
669:
667:
663:
659:
655:
651:
647:
643:
638:
636:
635:upright piano
632:
628:
624:
619:
617:
613:
609:
600:
595:
585:
582:
576:
573:
569:
564:
561:
557:
553:
549:
544:
542:
537:
527:
525:
519:
517:
513:
509:
505:
494:
492:
490:
486:
481:
479:
475:
471:
466:
463:
453:
451:
447:
443:
427:
425:
420:
415:
413:
409:
405:
401:
397:
389:
380:
371:
362:
359:
353:
351:
346:
342:
337:
334:
330:
326:
322:
321:bassoon pedal
318:
313:
311:
307:
303:
299:
289:
287:
283:
282:Practice Rail
272:
270:
267:, especially
266:
262:
258:
253:
250:
246:
242:
241:Claude Montal
238:
234:
231:in Paris, by
230:
226:
216:
207:
205:
201:
197:
192:
187:
184:
179:
174:
172:
167:
165:
161:
157:
156:
151:
150:
143:
133:
131:
127:
122:
118:
117:sustain pedal
114:
108:
107:Sustain pedal
93:
89:
87:
83:
79:
75:
71:
67:
63:
56:
51:
45:
44:sustain pedal
41:
37:
32:
19:
18:Bassoon pedal
1569:
1532:Short octave
1412:Harmonichord
1303:
1294:
1285:
1264:
1255:
1232:
1223:
1214:
1193:
1185:
1180:
1171:
1151:
1146:
1138:
1133:
1128:Good 1982:48
1112:
1104:
1087:
1069:
1041:
1034:
1013:
1004:
959:
949:
926:
903:
895:
879:
874:
866:
848:
828:
806:
758:
742:stage pianos
735:
715:
696:
679:
670:
639:
623:Louis Schone
620:
605:
577:
565:
556:damper pedal
546:Beethoven's
545:
533:
520:
500:
493:
489:Other pedals
485:Anton Walter
482:
467:
459:
446:square piano
438:
419:Alfred Dolge
416:
396:Turkish band
393:
388:MIM Brussels
368:
354:
338:
320:
314:
295:
292:Other pedals
278:
260:
256:
254:
224:
222:
213:
194:
189:
185:
181:
176:
168:
153:
147:
145:
129:
120:
116:
113:damper pedal
112:
110:
101:Damper pedal
90:
86:silent piano
62:Piano pedals
61:
60:
57:of the piano
1641:Maintenance
1614:Innovations
1560:Split sharp
1550:Frequencies
1491:Synthesizer
1417:Harpsichord
1355:Instruments
608:pedal piano
594:Pedal piano
588:Pedal piano
560:Conrad Graf
456:Knee levers
430:Development
333:swell pedal
325:harpsichord
1718:Categories
1578:Expression
1447:Reed organ
1442:Pipe organ
1407:Fortepiano
1387:Clavichord
1061:1022679478
787:References
777:Nord Stage
773:portamento
710:See also:
616:pipe organ
612:pedalboard
448:, made in
435:Hand stops
350:soundboard
149:soft pedal
142:Soft pedal
136:Soft pedal
80:, and the
74:soft pedal
36:soft pedal
1609:Acoustics
1397:Claviharp
763:may have
687:Broadwood
552:una corda
548:Broadwood
524:Janissary
408:Janissary
310:pizzicato
261:sustained
257:Sostenuto
225:sostenuto
196:Beethoven
155:una corda
1496:Virginal
1427:Melodica
1372:Carillon
1367:Calliope
676:Location
412:janizary
249:Steinway
55:keyboard
1624:Aliquot
1588:Sustain
1505:Layouts
1459:Orphica
1377:Celesta
1344:Musical
954:option.
718:Fazioli
683:Backers
462:Germany
358:Fazioli
331:used a
298:bassoon
92:three.
1729:Pedals
1664:Wrench
1659:Tuning
1649:Action
1619:Wiring
1570:Pedals
1486:Spinet
1422:Keytar
1059:
1049:
666:Gounod
654:Mozart
648:, and
497:Pedals
470:Mozart
450:London
410:" or "
304:. The
164:timbre
152:, or
130:legato
66:levers
1724:Piano
1629:Cross
1464:Piano
1432:Organ
1382:Chime
662:Alkan
658:Liszt
581:Haydn
541:Erard
302:swell
119:, or
70:piano
1583:Soft
1542:Keys
1346:and
1057:OCLC
1047:ISBN
740:and
664:and
629:and
306:lute
239:and
191:did.
146:The
111:The
42:and
444:'s
386:at
1720::
1273:^
1241:^
1202:^
1159:^
1121:^
1096:^
1077:.
1055:.
1022:^
992:^
980:^
968:^
935:^
912:^
887:^
856:^
836:^
814:^
794:^
783:.
668:.
660:,
656:,
644:,
510:,
327:.
206:.
173::
115:,
88:.
38:,
1336:e
1329:t
1322:v
1081:.
1063:.
20:)
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